The Real Dr. Strangelove program

FRIday, NOV. 12 — 7:30 p.m.

This program is presented, in part, by the Kansas arts Commission, a state agency, and the National Endowment for the arts, a federal agency, which believes that a great nation deserves great art.

This event is sponsored, in part, by the Lied Performance Fund.

audio description services and recorded program notes are provided through a partnership between the Lied Center and audio-Reader Network.

Please turn off or silence cellular phones and other electronic devices during performances. Food and drink are not allowed inside the hall.

Cameras and recording devices are strictly prohibited in the auditorium.

The Real DR. STRangelove

L.A. Theatre Works and Producing Director Susan Albert Loewenberg present

Edward TEllEr and THE BaTTle foR The h-BomB By PETEr GoodcHild

The real dr. sTrangelove: Edward TEllEr and ThE BaTTlE for ThE h-BomB

The Real Dr. Strangelove:Edward Teller and the Battle for the H-Bomb

Starring

John Vickery John Getz

with

Diane Adair Michael Canavan Kyle Colerider-Krugh

Peter McDonald Geoffrey Wade

Directed by Shannon Cochran

Time and setting:1952-1955, various locations in Cold War America and South Sea Islands.

There will be one 20-minute intermission.

The taking of photographs or the use of any kind of recording device is strictly prohibited.

NOTES FROM THE AUTHOR, PETER GOODCHILD There are not too many personal conflicts that can be said to have changed the course of world history. However, the extraordinary 11-year struggle, from 1943 to 1954, between Robert Oppenheimer, the father of the atomic bomb, and Edward Teller, the father of the hydrogen bomb, is arguably one of them. The struggle destroyed Oppenheimer and its outcome certainly lengthened and deepened the Cold War. In the 1980s, Teller’s stature as a Cold War warrior was such that he was able to take the conflict with Russia to another level when he success-fully sold the Star Wars concept to President Reagan. Of course, there were many other factors at play in such a complex saga, but so much can be traced back to the personality clash between the two men. The challenge in writing this play was to find a dramatic situ-ation which explored and hopefully encapsu-lated their decade-long struggle.

I first became involved with our pro-tagonists in 1979 when I was producing a drama series on Oppenheimer for the BBC, in which Teller was to be a character. By then, Oppenheimer had been dead for 12 years. Teller, however, was very much alive, demon-ized for his creation of the H-bomb, for his persistent campaigning for evermore powerful weapons, and for nuclear power, in spite of disasters like Three Mile Island. He was seen by many as a force for evil, a real life Dr. Strangelove. And when I met him, he cer-tainly played up this image. The series writer and I sat in a room lined with original paintings by Modigliani while he delivered an hour-long impassioned attack on Oppenheimer without allowing us to ask a question or take a single note. We were fascinated by his passion and shocked by the bitterness he still displayed 25 years after his clash with Oppenheimer. It was a truly memorable experience.

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NOTES FROM THE PRODUCING DIRECTOR, SUSAN LOEWENBERG

Nearly 30 years later and after years as an executive in BBC television, I had the opportunity to write a biography. I unhesitatingly picked Teller. I rapidly discovered that much more fascinating information had become avail-able about the intrigues involving both Teller and Oppenheimer, which led to Oppenheimer’s downfall. So when Susan Loewenberg sug-gested I write a play, I jumped at the chance. But a 400-page biography was one thing; a 90-minute play was another. Where was I to find the dramatic focus I needed? After a num-ber of false starts, I found one main incident. Back in 1954, Teller was almost alone among scientists to give evidence at a hearing which ostensibly questioned Oppenheimer’s security clearances. It was, in effect, a trial for treason. The hearing had been a centerpiece in our BBC drama series, but I now knew much more about Teller‘s pivotal role behind the scenes. Teller arrived in Washington the night before he was due to testify and found that the hotel he was staying in was hosting the annual meeting of the American Physical Society. The whole of the U.S. physics frater-

nity was there and it was up in arms, having just heard that the Oppenheimer “secret” hearing was taking place in the city. What was more, Teller was thought to be preparing an incriminating testimony. During the research for my book, a num-ber of those present in the hotel that night told me of their desperate efforts to persuade Teller not to testify. One of them, the Nobel laure-ate Hans Bethe and an old friend of Teller’s, described the meeting he and his wife had with Teller that evening as one the worst of his life. So much was at stake surrounding Teller’s testimony. If Teller came out strongly against Oppenheimer, then Oppenheimer would cer-tainly lose his clearance, and the world would lose a major moderating influence on the nuclear arms race. This was something which would affect everyone’s lives for decades to come. What was more, this was only nine months after the Rosenbergs had been executed for spying. In such troubled times, Oppenheimer could well find himself fighting off similar criminal charges of espionage and treason. I had found the focus for my play.

More than 50 years have passed since the United States was gripped by the threat of nuclear holocaust. The Cold War—rooted in a fear of Communism’s spread—was perme-ated by the threat the Soviet Union’s nuclear power posed to the American way of life. Along with the era’s dominant images of President Eisenhower, Senator McCarthy’s relentless hearings to pursue government subversives, and happy families playing games in basement bomb shelters, there loomed the omnipresent image of ever more powerful mushroom clouds. A central question faced by Teller and Oppenheimer (and one that Peter Goodchild explores in his play) regards the use of power, if and when to use it, and for what purpose. That question persists today, and dogs the American government in a way quite different from what Eisenhower and his administration encountered. In the 1950s, the U.S. faced one

main enemy: Communism. And as contem-plated by the average citizen, the Communist threat emanated from the Soviet Union. This bi-polar world lasted until the collapse of the Soviet Union in 1989. Today we live in a very different world and the nature of the threat has changed. Instead of facing a single enemy, the government faces rogue and failed states and individual terrorists. Instead of just the Soviet Union, we have to keep an eye on Iran, Al-Qaeda, Pakistan, Somalia and North Korea. How we as Americans perceive the threats to our security and way of life are very different, too. The days of trusting in elected officials are long gone, replaced by suspicion and disgruntlement. As access to informa-tion and the ability to both dispense and receive it has grown exponentially because of technology, so has the threat to our security morphed from a single known entity to a much

The real dr. sTrangelove: Edward TEllEr and ThE BaTTlE for ThE h-BomB

J. Robert Oppenheimer: Became a national hero following his time as scientific direc-tor of the Manhattan Project during World War II. Post-war, he became director of the Institute for Advanced Study at Princeton and an influential member/chairman of countless government defense committees. Follow-ing his wartime experiences, he developed serious concerns about all-out efforts to make H-Bombs with their limitless power. He was believed by Teller to have deliberately obstructed the H-Bomb’s development. This, along with his arrogance, made him serious enemies among politicians and the military, who exploited his pre-war left-wing activities to accuse him of espionage.

Edward Teller: Hungarian-born American nuclear physicist, known colloquially as “the father of the hydrogen bomb.” Of Jewish de-scent, Teller immigrated to the United States in the 1930s, and was an early member of the Manhattan Project charged with develop-ing the first atomic bombs. He was involved in a 10-year struggle to develop the H-Bomb in which he saw Oppenheimer as one of his main obstacles.

Lewis Strauss: Began life as a shoe sales-man, but by his early 20s was the assistant to Herbert Hoover, organizing post-war food relief. He became a wealthy banker who rose to the rank of Rear Admiral during World War II. Eisenhower’s unlikely appointee to run nuclear affairs, he resisted disarmament and mounted a

concerted campaign to displace Oppenheimer. Always polite and courteous in public, he was ruthless in seeking revenge against those who crossed him. Oppenheimer was one of them.

Herbert Marks: Attorney whose wife was Oppenheimer’s assistant. A supporter of radical causes, Marks defended Oppen-heimer at his hearing, free of charge.

Luis Alvarez: Worked under Ernest Law-rence at the Berkeley Radiation Laboratory for 20 years. He had been a student friend of Oppenheimer’s and was a Nobel laureate in 1968. Alvarez was one of the few senior sci-entists who, along with Teller, gave evidence against Oppenheimer at the latter’s security hearing.

Mici Teller: Teller’s childhood sweetheart and wife. A mathematician and an indepen-dent spirit.

William Borden: A Yale law graduate, and bomber pilot with the 8th USAF in World War II. He was an influential executive direc-tor of the Joint Committee on Atomic Energy until he was fired in 1953. Borden was suspi-cious that there was a second spy at Los Alamos during World War II, which led him to investigate Oppenheimer.

Ernest Lawrence: Inventor of the cyclotron, Nobel laureate and first U.S. entrepreneur of “big” science. Lawrence provided crucial

more complex, moving target. Perhaps history has shown that Teller was right—that deter-rence was an effective means of containment because it was in the hands of two super powers with everything to lose. Today, how-ever, that thinking may pose an even greater danger to humanity. Nuclear proliferation is a major item on our government’s agenda. While the threat of nuclear proliferation is far more ominous, in reality, than it was 50 years ago, domestically the cultural and political focus on that threat has been replaced by the day-to-day struggles Americans are experiencing dur-ing this recession. In the prosperous 1950s,

the government could afford to focus on the Cold War. The present administration, on the other hand, faces an ever-growing plethora of domestic and international challenges. Nor, it could be argued, does the United States have the same ability to wield influence on the rest of the world. Today, the responses to contemporary dangers must be both strategic and tacti-cal—how to counter nimble enemies that don’t recognize armies in uniform, that can move about like ordinary citizens, and can transport weapons of mass destruction in their pockets.

CHARACTER GLOSSARY

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backing to the U.S. A-Bomb program, as well as the H-Bomb and Teller’s second labora-tory at Livermore. Originally a friend of Op-penheimer’s, he eventually came to distrust him. He is not portrayed in the play, but he is referred to.

Roger Robb: Well-established trial lawyer who prepared the government case for the hearing, during which he and Oppenheimer developed a deep dislike of one another. Robb was unscrupulous in prosecuting him.

Enrico Fermi: Italian theoretical physicist and Nobel laureate who emigrated to the U.S. in 1935. Fermi won the 1938 Nobel Prize in physics for his work on induced radioactivity. He was a much loved figure, a friend of both Teller and Oppenheimer’s. In 1941, he suggested to Teller that he should look at using an atomic explosion to trigger a much more powerful H-Bomb. At the time of the hearing, he was terminally ill with cancer. He is not portrayed in the play, but he is referred to.

Haakon Chevalier: Berkeley professor of Romance languages, Chevalier was a close friend of Oppenheimer’s, and a member of the Communist party who was a major catalyst in Oppenheimer’s security problems. He is not portrayed in the play, but he is referred to.

Joseph Weinberg: A student of Op-penheimer’s at Berkeley who had been overheard in an illegal wiretap passing on information about the atomic bomb to a Com-munist contact. Because the wiretap could not be used as evidence, in 1953 he was tried for perjury. A guilty verdict would have implicated Oppenheimer but Weinberg was found innocent. He is not portrayed in the play, but he is referred to.

Hans Bethe: German who immigrated to the U.S. in 1935. Bethe was Head of the Theo-retical Division at Los Alamos during World War II and a government adviser for five de-cades thereafter. He was a Nobel laureate in 1967. Although he was a close early friend of Teller’s, their friendship was put to the test as their views on the nuclear program diverged.

Rose Bethe: Bethe’s Wife.

Isidor Rabi: Nobel laureate physicist who came to know both Oppenheimer (whom he admired) and Teller (whom he despised) while they were students together in Europe. At the time of the hearing, he had consider-able influence, both because he had suc-ceeded Oppenheimer on various committees and because of his personal friendship with Eisenhower.

Bob Christy: A physicist who knew Teller at Los Alamos. Their families had shared a house in Chicago directly after the war.

L.A. THEATRE WORKS Under the leadership of Producing Direc-tor, Susan Albert Loewenberg, L.A. Theatre Works (LATW) has been the foremost radio theatre company in the United States for more than two decades. Broadcast in America on NPR stations, streamed online at latw.org and aired internationally on the BBC, CBC and many other English language networks, LATW has single-handedly brought the finest recorded dramatic literature into the homes of millions. The company records the majority of its

productions annually in Los Angeles before an enthusiastic and loyal audience of season sub-scribers. Works by Arthur Miller, Tom Stoppard, Lillian Hellman, Athol Fugard, Joyce Carol Oates, Wendy Wasserstein, Neil Simon, David Mamet, Lynn Nottage and others have been performed and recorded by LATW with casts of the most critically acclaimed film and stage actors. On the road, LATW has delighted audiences with its unique live radio theatre style performances in more than 200 small towns and major cities,

The real dr. sTrangelove: Edward TEllEr and ThE BaTTlE for ThE h-BomB

including New York, Boston, San Francisco, Washington and Chicago. An LATW perfor-mance is immediate, spontaneous, and features a first-rate cast, live sound effects, and a con-nection to the audience rarely felt in a traditional theatre setting. This theatre… is an event. Today, LATW’s Audio Theatre Collection includes more than 400 classic and con-temporary titles—the largest library of its kind in the world. Much lauded, the L.A. Theatre Works Audio Theatre Collection is available in more than 9,000 libraries and has received awards from the Audio Publishers Associa-tion, the Corporation for Public Broadcasting, Publisher’s Weekly, Writer’s Guild of America,

American Library Association, Grammy Awards and many others. Additionally, more than 3,000 high schools nationwide use the recordings and accompanying study guides to teach lan-guage arts, literature, history and civics through LATW’s Alive & Aloud educational outreach program. LATW’s newest initiative, The Play’s the Thing for Higher Education, makes more than 300 digitized works from its collection available to universities and colleges across the country for use in a variety of disciplines. For more information on these programs, LATW’s Audio Theatre Collection, national radio broad-cast information and other exciting projects, visit latw.org.

Producing Director: Susan Albert LoewenbergAuthor: Peter GoodchildDirector: Shannon CochranManaging Director: Vicki PearlsonBusiness Manager: James OttAssociate Producers: Jennifer Brooks and Christina MontañoTour Manager: Diane AdairProduction Stage Manager: Jared CoxLighting Designer: Trevor NortonSound Designer: Mark Holden

If you are interested in becoming a “Producing Partner” by making a donation to L.A. Theatre Works, a 501(c)(3) non-profit corporation, or wish to join our mailing list, please visit latw.org or write to:

L.A. Theatre Works681 Venice BoulevardVenice, CA 90291

Representation by:

Set Designer: Kenneth Houston Costume Designer: Rebecca GuzziDramaturg: Elizabeth BennettGraphic Design: Dennis RamirezSenior Radio Producer: Jeff RogersAssociate Radio Producer: Myke WeiskopfPost-Production Coordinator: Ronn LipkinAssistant Director of Development: Mark WardDirector of Educational Outreach: Michael AspinwallPublicity & Public Relations: Lucy Pollak

196 West Ashland Street Suite 201 Doylestown, PA 18901 p. 267-880-3750 f. 267-880-3757 www.baylinartists.com

BIOGRAPHIESDIANE ADAIR (Mici/Others) graduated Magna Cum Laude with a bachelor’s degree in commu-nications from Chapman University. Upon gradu-ation, she was accepted as a company member of South Coast Repertory Theatre. Adair has appeared on stage with June Lockhart in The William; co-starred opposite John Glover in The Traveler at The Mark Taper Forum in Los Angeles and was most recently seen off-Broadway as Meg Greenfield in a New York Theatre Work-shop/Affinity Theatre/L.A. Theatre Works pro-duction of Top Secret: Battle for the Pentagon Papers with Peter Strauss. Top Secret went on

a national tour starring John Heard, Susan Sul-livan and Gregory Harrison. Adair also had the pleasure of touring as The Narrator in The Great Tennessee Monkey Trial with Ed Asner. Her film credits include the critically acclaimed UFOria with Harry Dean Stanton, Fred Ward and Cindy Williams, and the 2002 winner of the New York International Film Festival’s best mockumentary, Instant Trauma. Her numerous television guest star appearances include Fonzie’s girlfriend on Happy Days, and a recurring alien on Babylon 5. She has done on-camera work as well as voiceovers for national commercials, and voiced

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the Emmy Award-winning mini-series, The Wild West, with Jack Lemmon and Helen Hunt. Adair enjoys writing and was a quarterfinalist in the Academy of Motion Picture Arts and Sciences’ Nicholl Fellowships in screenwriting.

MICHAEL CANAVAN (Strauss/Others) is very happy to be making his first appearance with L.A. Theatre Works. His off-Broadway credits include the Obie Award-winning production of Bug by Tracy Letts, starring his wife, Shannon Cochran, at the Barrow St. Theatre, and the much less renowned Bang Bang Blues at the Joseph Papp Public Theatre. Regional theatre credits include A Moon for the Misbegotten at Merrimack Rep; Oleanna, Prelude to a Kiss, Reckless and Jitters, among many others, at South Coast Rep; De Donde? at New Mexico Rep; and Twelfth Night and One Flew Over the Cuckoo’s Nest at the Pittsburgh Public Theatre. Chicago audiences have seen Canavan in The Lion in Winter and The Father, both co-starring Cochran, at Writer’s Theatre; Mizlansky/Zilinsky at Steppenwolf; and The Dying Gaul at Apple Tree Theatre. He also managed to play Vershinin in a bi-lingual production of Three Sisters in Bogotá, Colombia. Canavan’s film credits in-clude Flags of Our Fathers, The Island, Hidalgo, Murder by Numbers and Striking Distance. He has guest-starred on dozens of television shows, including most recently Mad Men, Bones, En-tourage, Criminal Minds, Big Love, Brothers & Sisters and CSI: Miami. His voice can be heard on several video games as the Marquis de Sade among others, as well as on the History Channel and narrating the Bible for Warner New Media.

KYLE COLERIDER-KRUGH (Robb/Others) has previously worked with LATW on Side Man, RFK: The Journey to Justice, The Great Tennessee Monkey Trial, Broadway Bound and War Of The Worlds/The Lost World, as well as numerous other collaborations with producer Susan Loewenberg and Chicago Theatres on the Air. While in Chicago, Colerider-Krugh also performed various shows at The Goodman Theatre, Court Theatre, Shakespeare Rep., Oak Park Festival, Pegasus Players, The Blackstone Theatre and did three years with The Second City National Touring Company. Other regional theatre credits include The Cleveland Playhouse, The Alliance Theatre in Atlanta, Peterborough Players, N.H., as well as The Geffen The-atre, Theatre Tribe, Pasadena Playhouse and

The Laguna Beach Playhouse all in the L.A. area. His film and television credits include: Pri-mal Fear, Secretary, The Untouchables, With-out A Trace, E.R., Sister Sister, The Pretender, Grace Under Fire, Third Rock From Sun, Early Edition, Seinfeld, Medium and Hung.

JOHN GETZ (Oppenheimer). Broadway: M. Butterfly, They’re Playing Our Song. NY Shakespeare Festival: Macbeth, Measure For Measure. American Place, Manhattan The-atre Club, Baltimore Center Stage, American Conservatory Theater, Washington Arena Stage, Hartford Stage. San Diego Globe: The Seagull. La Jolla Playhouse: Tartuffe. Recently in L.A.: The Brothers Karamazov, Eurydice, The Good Book of Pedantry and Wonder. L.A. Theatre Works: Top Secret: The Battle for the Pentagon Papers, Betrayed. Film: Blood Simple, The Fly, Born On The Fourth Of July, Zodiac, The Social Network, Elevator (2011). TV: Scads.

PETER McDONALD (Marks/Others) is a grad-uate of the University of California, Irvine. His television credits include Justified, E.R., Becker, Wings, Titus, Lois and Clark and Beverly Hills, 90210. He had a leading role in Instant Trauma, the 2002 winner of the New York International Film Festival’s best mockumentary. On stage in L.A., McDonald has played Don Quixote in Man Of La Mancha, Cliff Bradshaw in Cabaret, Rosencrantz in Rosencrantz and Guildenstern are Dead and Lucentio in Taming of the Shrew. Recently he was an ensemble member of L.A. Theatre Works’ national tour of War of the Worlds/Lost World. While studying with Gary Austin, founder of The Groundlings Improv Company, McDonald was a regular at The Ice House in Pasadena and The Comedy Store in San Diego. He received a Drama-logue Award nomination for best actor in an original musical for Black Beauty.

JOHN VICKERY (Edward Teller). Broadway: Scar in The Lion King, The Sisters Rosensweig, The Real Thing, Eminent Domain, Ned and Jack and Macbeth. Off-Broadway: The Vampires, The Death of Von Richtoffen, Henry IV, Part I, American Days and Looking Glass. Regional: The Tempest with Christopher Plummer and The Two Gentlemen of Verona (Stratford), The Lion King (Los Angeles), Arcadia (Mark Taper Forum), The Black Rider (Ahmanson), The Royal Family (McCarter Theatre), I Hate Hamlet (Royal

The real dr. sTrangelove: Edward TEllEr and ThE BaTTlE for ThE h-BomB

George), The Cherry Orchard and The Misan-thrope (South Coast Rep). Film: Dr. Giggles, Rapid Fire, Big Business, Patriot Games, Mur-der by Numbers and Out of Bounds. Television: Medium, NCIS, Without a Trace, Frasier, NYPD Blue and Judging Amy among many others. Vickery has appeared with L.A. Theatre Works numerous times including Gross Indecency, Bunbury, Becket, Nora, Broken Glass, This Town, The Third Man, The Sisters Rosensweig and the national tours of The Caine Mutiny Court-Martial as Cpt. Queeg and Top Secret: The Battle for the Pentagon Papers as Ben Bagdikian and Robert Mardian.

GEOFFREY WADE (Alvarez/Others) has previously worked with LATW on The Great Tennessee Monkey Trial and Top Secret. He recently starred in The Tale of the Allergist’s Wife with Marilu Henner, and played the title role in the world premier of Lincoln: Upon the Altar of Freedom. Broadway credits: Translations and An American Daughter. Off-Broadway: Twelve Dreams and the acclaimed Private Jokes, Public Places. He did the national tour of Crazy For You, and toured Rosencrantz and Guildenstern are Dead and As You Like It. His extensive regional work includes multiple seasons at the Cincinnati Playhouse in the Park in Cloud 9, On The Verge, The Rocky Horror Show and Much Ado About Nothing. The Rep Theatre of St. Louis: Six Degrees of Separation and An Ideal Husband. Also: The Middle Ages (Philadelphia Drama Guild), Bedroom Farce (Center Stage), And a Nightingale Sang (GeVa), Sylvia (New Harmony), and a Carbonell-nominated perfor-mance in Fortune’s Fool (Caldwell). Leading roles at Vermont’s Weston Playhouse: Big River, “Art” and Private Lives. L.A. Theatre: The Man Who Had All the Luck (LA Weekly Award); Mercadet (Back Stage West Award); Heathen Valley; Mother Courage (Ovation nomination). Television: Numb3rs, E.R., Justice, Monk, Scrubs, King of Queens, Law and Order and so on. Film: City Hall and the award-winning short, Tres. Wade is a member of the Antaeus Company and teaches in its Academy. He trained at Central and is married to the lovely Amelia White.

SHANNON COCHRAN (Director) has been working with L.A. Theatre Works for more than 10 years. Beginning with Pygmalion starring Nicholas Pennell, and most recently appearing

as The Narrator in The Great Tennessee Mon-key Trial, Cochran has been a part of at least a dozen productions for LATW. Recently, she completed the national tour of August: Osage County, for which she received a Helen Hayes nomination. She won an Obie and Theatre World Award for her off-Broadway performance in Bug. Cochran has a 20-year association with Steppenwolf Theatre, and has appeared at the Mark Taper Forum, Goodman, Long Wharf, South Coast Repertory, Writers Theatre, Cincin-nati Playhouse and many others. She directed Bug for BareBones Theatre in Pittsburgh, Therese Raquin for Greasy Joan & Co. and Private Passage for the Odyssey Theatre, both in Chicago. She choreographed several produc-tions, including A Day in Hollywood A Night in the Ukraine and The Mikado for Cincinnati Hot Summer Nights. Her film credits include the just-completed The Perfect Family with Kathleen Turner, The Ring, Star Trek: Nemesis and The Babe. Her television work spans 20 years on shows like Fringe, The Office, Grey’s Anatomy, Star Trek, Frasier, Seinfeld and more. She is a staff member of the School at Steppenwolf, in Chicago and Los Angeles. Cochran is sched-uled to direct August: Osage County for the Alley Theatre in Houston, in 2011.

SUSAN ALBERT LOEWENBERG (Producing Director) is founder and producing director of L.A. Theatre Works, a nonprofit media arts and theatre organization. Loewenberg has produced award-winning radio dramas, plays and films in Los Angeles, New York and London. Under her supervision, LATW has amassed the larg-est library of recorded stage plays in America, garnering numerous awards from the Corpora-tion for Public Broadcasting, the Writers Guild, The American Library Association, Publishers Weekly and others. She is executive producer and host of LATW’s national radio show—a weekly syndicated program carried on NPR stations, heard throughout the United States and available worldwide via latw.org. A graduate of Sarah Lawrence College, she has served on innumerable boards and panels, including the National Endowment for the Arts, the California Arts Council and The Fund for Independence in Journalism in Washington, D.C. From 1996 to 2002, Loewenberg served on the Board of Directors for Federal Prison Industries, a presi-dential appointment. She co-chaired the League of Producers and Theatres of Greater Los An-

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geles and was a member of the regional panel of the President’s Commission on White House Fellowships. Loewenberg is currently a member of the Board of Directors of The Center for Public Integrity. She is the author of a number of articles that have appeared in American Theatre Magazine, The Los Angeles Times and various professional journals. Loewenberg is married to Ezra Suleiman, professor of political science at Princeton University, and has two children, Sam and Anna Sophie, both journalists.

JARED COX (Production Stage Manager) is happy to join L.A. Theatre Works again for his fourth tour. Cox received his bachelor’s degree in theatre arts from San Francisco State Univer-sity. Though his emphasis was in performance, he quickly developed a keen interest in the back-stage aspects of production as well. Exploring this dual interest in both tech and performance, he worked in all aspects of production during two seasons with SFSU’s repertory theatre pro-gram, as well as in several main-stage produc-tions. After graduation, he began working both backstage and on stage, in and around the Bay Area including stints at The Exit Theatre—home of the San Francisco Fringe Festival—and Sierra Repertory Theatre in the California foothills. Cox moved to Los Angeles in 2000, where he works as a stage manager for the live theatrical pro-ductions at Universal Studios Hollywood.

MARK HOLDEN (Sound Designer) has more than a decade of experience recording and mixing various projects in studios, on sets and on live stages. He has designed, recorded and mixed more than 100 radio plays for clients such as L.A. Theatre Works, the BBC and indepen-dent production companies. As a musician, Holden understands that communication and comfort are essential to a creative space, which is why he created The Invisible Studios in West Hollywood, Calif. This boutique recording/mix-ing environment is home base for Holden and his team’s many projects. He has composed for radio, film and television, engineered and pro-duced several genres of music, and worked with some of the biggest names in commercial and creative voice talent. theinvisiblestudios.com

KENNETH HOUSTON (Set Designer) is a native of Fort Worth, Texas and moved to Los Angeles where he received a bachelor’s degree in theatre from the UCLA School of Theater,

Film and Television. He has been working in various aspects of theatre for 13 years and has been working with L.A. Theatre Works for the past year on such projects as End Days, The Constant Wife and Then We Came to the End. Prior to working for LATW he served as techni-cal director for Chicago dell’Arte as well as working for Royal Caribbean Cruise Lines and UCLA’s Royce Hall. Houston just completed work on Miss Universe for NBC and is excited to have the opportunity to share his passion for the performing arts with all of you through L.A. Theatre Works.

TREVOR NORTON (Lighting Designer) has designed several tours for LATW. Other credits include lighting designs with The Old Globe Theatre, San Jose Rep., San Diego Repertory Theatre, Shakespeare Festival L.A., La Jolla Playhouse, The Dorothy Chandler Pavilion, A Noise Within, Lobero Theatre, Bottom’s Dream, Wheeler Opera House, Mark Taper New Works Festival, Tremont Theatre in Boston and many more. Scenic design: San Diego Repertory Theatre, A Noise Within, Wheeler Opera House and others. Awards: Patte Award for All My Sons at the Old Globe, Garland Award for The Illusion at San Diego Repertory Theatre. Norton has several world premiere production credits with San Diego Repertory Theatre and Bottom’s Dream. He currently teaches design and stage management at the University of Redlands. Norton’s other work includes residential and commercial solar system design and sales, industrial designs, architectural lighting designs and building “green” houses for a hobby. Norton owns his own company, Cleverco Designs, has a bachelor’s degree from Occidental College, a master’s degree from UC San Diego, is a private pilot and has a wonderful family including his wife, Jennifer, and kids, Lillian and Reid.

The real dr. sTrangelove: Edward TEllEr and ThE BaTTlE for ThE h-BomB

SOMETHING EXCITING IS HAPPENING AT THE LIED CENTER AND YOU HAVE A FRONT-ROW SEAT!The main-floor lobby is expanding to double its current size to provide a more people-friendly space. And, an education pavilion is being constructed on the southeast side of the Lied Center. These projects are made possible by gifts from the Lied Foundation Trust and the William T. Kemper Foundation.

PLEASE NOTE: During construction, you will only be able to enter through the main doors of the Lied Center. Construction walls have been erected and side entrances are temporarily closed.

For the latest updates:

RENDERINGS oF thE 2,400 SquaRE-Foot EDucatIoN pavIlIoN aDDItIoN

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Friends oF the Lied Update

This list includes individuals and businesses that have initiated or renewed their Friends of the Lied membership since the original list was published.

2010-11 BUSINESS FRIENDS

Benefactor ($1,000+)Bigg’s Barbecue

Patron ($500+)Capital City BankThe Chiropractic Experience

Sponsor ($250+)Dr. Jim & Vickie Otten

INDIVIDUAL FRIENDS

Benefactor ($1,000+)Keith & Karen ElyBecky & Harry Gibson

Patron ($500+)Karen & Dennis ChristillesFrancois Henriquez & Laura StephensonCharlotte A. Mueller

Sponsor ($250+)Steve & Bobbie GishCharlotte A. MuellerLucy PriceG.E. & Ruth RutledgeJudy & Jack Wright

Contributor ($100+)Doug & Becky EasonAlice Clayton & Bob HoneaSharon Graham & Anthea ScouffasKristin & Blake HedgesRuss & Jackie HiltonC. Shaffia LaueJesse & Kitty PachecoMary Miller RossMary Ann & Norman SaulBarbara & Richard SchowenFred & Lilian SixSteve & Jung SpoonerSteve & Pat Sublett

Friends ($50+)Frank & Betty BaronElaine & Virgil BradyRex BuchananCheri EsmondEllen LoomithCharles & Laurie McLane-HigginsonTerry & Mary Beth MillerCarol ThompsonSarah Trulove & James Woelfel

SOMETHING EXCITING IS HAPPENING AT THE LIED CENTER AND YOU HAVE A FRONT-ROW SEAT!The main-floor lobby is expanding to double its current size to provide a more people-friendly space. And, an education pavilion is being constructed on the southeast side of the Lied Center. These projects are made possible by gifts from the Lied Foundation Trust and the William T. Kemper Foundation.

PLEASE NOTE: During construction, you will only be able to enter through the main doors of the Lied Center. Construction walls have been erected and side entrances are temporarily closed.

For the latest updates:

RENDERINGS oF thE 2,400 SquaRE-Foot EDucatIoN pavIlIoN aDDItIoN

lied.ku.edu/about/construction.shtml

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